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Thread: Shooting Architecture Question

  1. #1

    Join Date
    Apr 2002
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    Shooting Architecture Question

    I am looking to do an Architectual shoot and had a qustion about film or how to do this.

    I want to shoot a Custom Home and a small low rise office building. I have seen some nice Architectural images where the sky is a very deep dark blue. They look like they are shot at dusk.

    My question is how do you get these deep datk blue skies? Is there a special film that I should use?

    thanks

  2. #2

    Join Date
    Sep 2004
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    Gulfport, MS, USA
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    Shooting Architecture Question

    In all probibility the photos you saw were made using a polarizing filter...these can be adjusted to darken the sky from a little bit to a lot.

  3. #3

    Join Date
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    Shooting Architecture Question

    The simplest way would be to use a polarizing filter. The way it affects the sky will depend on the direction of sunlight , so you may want to try it out with different lighting, at different times of day, to see what the effect is with the buildings you intend to photograph. Also if you use a relatively wide angle lens certain conditions may create a distracting gradation of sky darkness across the frame. Otherwise, it is also possible to darken the sky with digital post-processing if you intend to scan your film output.

  4. #4
    Dave Karp
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    Dec 2001
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    Shooting Architecture Question

    You may use a polarizing filter, but here is another way to do it. The only problem with this way, is that you must pick the photo you want, set up for it, wait, and then come back another day to get another photo.

    As dusk approaches, the sky will change color (assuming there are no clouds) to a deeper blue. Meter as you would normally. I always selected a medium tone on the building or used a gray card. Take spot meter readings off of the sky and the lights in the windows of the building. (Of course, this approach requires that window lights are on in the building.) Adjust your exposure settings by checking your medium tone reference fairly regularly. Things can change fast when dusk hits. When I used to do this, I would start photographing when the window and sky meter readings started getting close together, and then continued periodically to photograph. Usually, the photo looks pretty good when the window lights and the sky are at approximately the same meter reading. Eventually, you run out of light, and the sky reads black, or close to it. Things can get pretty hectic during shooting time. EasyLoad or ReadyLoads help in this situation. It also helps to have a helper hand you the film. Another help is to plan the shot and pre-label the film, or have your helper do it while you are photographing. I learned this method

    from a photographer who used to shoot catalog images for our company, which manufactured exterior lighting. He used a Sinar P2 with a DB shutter system. It made it easier to work fast, since he did not have to reach around to cock a Copal shutter after each sheet was exposed. Once I learned the method, he took the #1 shot, and I took the #2 shot. That way we were able to get two shots each day, instead of one.

    We used Astia. I assume the new Astia 100F would be even better, but I have not tried it. If you want to use negative film, I would go with NPS.

    If you have time, you can shoot 2-3 sheets of each exposure. Have one developed, and save the remainder. You can adjust your processing based on how your first sheet, developed normally, came out.

  5. #5
    Kirk Gittings's Avatar
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    Shooting Architecture Question

    Are these the kind of images you are refering to? These are a few of mine that are on the web in various places.


    http://www.jonandersonarchitect.com/profile.htm


    If they are what you are talking about then the suggestions that Dave gave are pretty good. I work slightly different. I place the windows on Zone VII then wait for the sky to dim to one stop darker than the windows, then I shoot 6 exposures. Two at the indicated then +1/2,+1,+1 1/2,+2 have one of the indicated processed and tune the dev. of the rest based on that one. There is some subjectivity in this but these brakets usually give me something dramatic. Which is what I want.

    Otherwise the pol. filter works well in daylight unless you are using really wide lenses (you will get an uneven sky). In the SW here the sky is so dark blue that the pol. is rarely necessary for a deep blue.
    Thanks,
    Kirk

    at age 73:
    "The woods are lovely, dark and deep,
    But I have promises to keep,
    And miles to go before I sleep,
    And miles to go before I sleep"

  6. #6

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    Shooting Architecture Question

    Photoshop it in, just like everybody else.
    Wilhelm (Sarasota)

  7. #7

    Join Date
    Apr 2004
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    Shooting Architecture Question

    Hi Jay,

    Had pretty good results with both Provia and Velvia, but as suggested a few times above, PS will do the trick

    cheers

  8. #8

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    Shooting Architecture Question

    Use color neg and wider brackets until you know...

  9. #9

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    Apr 2002
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    Shooting Architecture Question

    Thanks everyone... Yes Kirk those are the images I am tring to create. What film did you use? Will Kodak Ektachrome daylight work?

    thanks...

  10. #10
    Kirk Gittings's Avatar
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    Shooting Architecture Question

    Jay,

    Those were made over twenty years and many different films. Currently I am using Velvia 100F.
    Thanks,
    Kirk

    at age 73:
    "The woods are lovely, dark and deep,
    But I have promises to keep,
    And miles to go before I sleep,
    And miles to go before I sleep"

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